In March, lighting company FLOS announced the launch of the long- awaited modular lighting collection Arrangements. Designed by Michael
Anastassiades and previewed during Salone 2017, the innovative line was
fashioned with jewelry in mind.

Completely customizable, the collection features nine fixture elements
composed of aluminum and LEDs. Each can be arranged and re-arranged
to create a multitude of combinations.

interiors+sources sat down with Anastassiades to discuss the collection.

WHAT WAS THE INSPIRATION FOR THE PRODUCT?

[I wanted to create] a lighting system in which people would have the option
to compose and create their own chandeliers. This idea of giving creativity back
to the user was quite an interesting [prospect]. A user can purchase these
elements individually and link them up to create their own [fixture].

HOW MANY DIFFERENT DESIGNS ARE THERE?

We have the loops, which come in three sizes, the horizontal bar, the diamond
shape—which is the square in two sizes—the teardrop shape, and a right angle
which is basically two straight lines coming [together]. All of these elements can
be combined with each other.

HOW IS IT POWERED?

It is a low-voltage system. The transformer that holds to the ceiling is hidden
behind a canopy. By linking up the elements, it simply carries the current from
one to the next.

WHEN DID YOU START WORKING ON ARRANGEMENTS?

We started working on Arrangements in the summer of 2015. Then we
launched it in Europe in 2017 and a year later, which is now, it went out
to the market.

WHAT WAS THE MOST DIFFICULT PART OF CREATING THE COLLECTION?

I think the whole magical thing is the delicate sections the different elements have.

They look like they’re just simply hung from each other and they literally are. To solve
that technologically has been kind of difficult. You can take one element out and
add another element or do something completely different. You could combine all
the different elements separately and keep them and compose and change as you
like. The interesting challenge [is] to make them look effortless somehow.

WHAT ARE SOME OF THE OTHER SURPRISES YOU’VE GOTTEN OVER THE COURSE
OF CREATING ARRANGEMENTS?

The biggest challenge is always the glow because I think this is what makes a light.

When I design a light, I think of the glow. I imagine what the glow is like and I think
the biggest challenges have been to achieve it. You can draw things and you can
imagine things and you can sketch shapes and forms and say, “This is how I’d like
it to be” but the most important thing is how the piece glows. How does it actually
mimic the light? How does it communicate? And this is the starting point for me.

Throughout the process, I think the biggest surprise came when we finally managed to reach that level because, of course, it was a struggle in the first year
of development. We were trying to identify technologies that would give me the effect
that I was after. And then, finally, I remember walking into the R&D department and
there it was: the fixture was turned on and I was completely mesmerized by this
object that I had designed. It was like a magnet that pulled me to it. I stood there
and stared at it. I never imagined that it was going to have that quality.

HOW WOULD YOU DESCRIBE THE INITIAL RESPONSE TO ARRANGEMENTS?

It’s been really incredible. It’s the sort of product that you need to really see live to
appreciate. I think it’s one of those products that is not so photogenic because it
communicates something. Also, seeing it turned on is definitely quite magical. The
fact that it is a fully customizable fixture means you really need to see it
[in person] to appreciate it to the full extent.